I’ve written about this song at least once before, I suspect more than once, but I decided that as my all-time favorite song it deserved its own post. I first heard the tune in 2005 when, as a subscriber to the now-defunct BMG Music Service, I got all kinds of deals on CDs. The Wallfowers’ Rebel, Sweetheart had come out that year, and although their popularity had waned since the ’90s when songs like “One Headlight” were all over the airwaves, I was an avid fan and had no doubt I would enjoy the album.
Back in those days I had an original iPod (a college graduation present), and I dutifully ripped songs off the CDs to my ancient iBook (which would be stolen that fall) and copied them to the little monochrome-screened, control-wheeled device. I don’t remember the exact moment when I first heard “Days of Wonder”, but it must have grown on me quickly. I know that through the years I lived in Charleston (2005-07), the song and album were frequently playing when I went on runs (reference the LJ post linked above).
So why is the song my favorite? I fear that answering that question my be akin to trying to explain falling in love with a woman, but I’ll still give it a shot. Musically, it has a chord progression of G – C – Em – D or, disregarding key, 1 – 4 – 6 – 5, not a ubiquitous sequence but not rare either–just among my other favorites there’s The Killers’ Mr. Brightside and Needtobreathe’s Restless, and probably others. The song is structured conventionally for at least the first half, going verse – chorus – verse – chorus – instrumental – chorus – instrumental – bridge – outro, so the lack of another chorus at the end is notable. However, I think the last portion of the song (starting with the piano solo around 3:35) is the strongest.
If you know me, you won’t be surprised that I generally like piano solos and songs/bands which feature the instrument prominently. Here, though, the piano (along with the lack of other instruments at that point) just accentuates one of three riffs which occur frequently throughout the song. The first two are initially guitar-based and can be heard in the brief intro before the first verse begins–0:04 and 0:12 on the youtube link above–while the third comes in concurrently with the second verse (1:36) and is played by perhaps a mandolin. After that point, all three motifs are frequently, often even concurrently, present.
More to come if I decide I want to keep geeking out on this stuff…for now, hope you like the song. The youtube view count suggest that most are not nearly as wild about it as I am! Oh well, de gustibus non est disputandum, eh?